Vita e Pensiero

A new exam of the problems about the publication date of Pliny’s Panegyric leads us to identify as terminus ante quem the first triumph of Trajan over the Dacians (December 102). Pliny indeed in paneg. 46, a chapter dedicated to pantomimes, seems to ignore that these shows, initially banned by Trajan, were reintroduced in Rome just during this triumph (cfr. Cass. Dio LXVIII 10, 2)...

This paper focuses on the characteristics and on the role of Aeneas’ comites of exile in Vergil’s Aeneid, in which the Trojan migrating crowd grows through a progressive aggregation of different groups of followers: the Penates, Aeneas’ familia, the survived Trojan citizens and the ships of the fleet. While observing the formation of this community, it is possible to identify some moral and interpersonal dynamics regulating the relationships among the members of the Trojan group and between them and their dux Aeneas...

The Pythia’s prologue in Aeschylus’ Eumenides serves an important function – since the action has just moved to Delphi, it must create its own space, and provide the spectators with a credible ‘verbal setting’. This paper wishes to show how Aeschylus achieves this poetic and dramatic aim...

My approach of analysing discourse in Greek lyric rests on the concept ‘intrasubgenre’, which I coin in order to demonstrate the way in which the dithyramb infiltrates another subgenre in its own narrative environment...

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This paper argues for the need for further engagement with the poetry of Tibullus, particularly with respect to his use of a wide range of poetic genres in his Elegies, but also at a textual-critical level. Close readings of II 5 and I 1 reveal programmatic allusions to (inter alia) epic, pastoral, and philosophic discourses.

This paper shows how Spes in Tibullus II 6 is a literary construct re-elaborating Greek models (Hesiod, Theognis) and how the allusion to these is intertwined with and signposted by co-occurring allusions to other authors (Theocritus, Apollonius). The result of such stratified intertextuality is Tibullus’s appropriation of disparate literary portrayals of ‘hope’ to the code of Roman love elegy.